外文翻譯--中國視頻流媒體網(wǎng)站自制內(nèi)容的競爭分析（節(jié)選）

1、<p>　　中文5900字，3200單詞，1.8萬英文字符</p><p>　　出處：Drexel University：44-56</p><p>　　A Competitive Analysis of Original Content on Chinese Video Streaming Websites</p><p>　　Aoran Yang<

2、;/p><p><b>　　Abstract</b></p><p>　　In the first 15 years of the 21st century, the Chinese video industry continued growing and evolving at a rapid pace. With the changes in the video st

3、reaming market, producing original content became a hot topic within major video streaming websites. This study provided a competitive analysis of Chinese video streaming websites. The research applied a comparison study

4、 to understand the differences of original content on Chinese video streaming websites. A survey about the online audience’s using</p><p>　　CHAPTER 2: LITERATURE REVIEW</p><p>　　The Reasons For

5、Producing Original Content</p><p>　　From 2010 to 2015, increasing copyright costs, serious content homogenization, and growing viewer demands created more stresses for video streaming websites. In addition t

6、o new media policy support and more funding, it was feasible for video streaming websites to produce original content (Xiong, 2013).</p><p>　　In China, the primary costs for video streaming websites include

7、bandwidth, copyright, and salary. In the early stages of development, bandwidth cost was the largest cost contributor. Prior to 2009, Chinese video streaming websites had to spend up to 120 million yuan ($19.3 million US

8、) on band width cost, which was 60% to 70% of total costs (Liao, 2009). With the development of bandwidth technology in subsequent years, video streaming websites reduced large amounts of operating expenses on band</

9、p><p>　　In the traditional television and video streaming industries, high-quality content is undoubtedly the main way to attract audiences and advertising agencies. (Wen, 2013) In China, traditional television

10、 networks and content production companies possess most of the content copyrights. (Xiong, 2013) Because of increasingly fierce competition for content, copyright cost became the largest cost since 2011. In addition to t

11、he consolidation of the copyright market, Chinese video streaming websites had</p><p>　　Copyright cost pressure also led to content homogenization. The pressure from copyright cost drove an increasing number

12、 of websites to distribute copyrights that they bought. The “Copyright Bubble” made authorized broadcasting meaningless for video streaming websites (Shu, 2013). As a result, homogenization of content was inevitable, and

13、 online audiences could watch a specific popular show on every website. Video streaming websites needed to find new ways to fight for unique and competitive cont</p><p>　　The current revenue model of Chinese

14、 streaming websites mainly relies on traditional advertising, which is still competing for the same market as traditional television networks. This advertising model is derived from traditional television advertising. It

15、 forces the audience to watch a specific duration of video ads, and cannot be skipped. In fact, this kind of mandatory advertising strategy is very dangerous for video streaming websites’ operation (Shu, 2013). It agains

16、t the nature of online m</p><p>　　Changing government media policy influences the current and future development of the streaming industry as well. In September, 2011, SARFT issued the “Limited Entertainment

17、 Law”, which stipulated that beginning in 2012, domestic TV networks were required to limit their entertainment content to 9 shows per year. Additionally, only two entertainment programs were allowed to air each week on

18、each channel, and a channel could not broadcast entertainment content longer than 90 minutes every day duri</p><p>　　IQiYi’s production team are from traditional TV production departments, 40% are from tradi

19、tional website companies, and 20% have cross-media experiences in both industries” (Chen, 2011). Undoubtedly, this talent import has brought a good opportunity for video streaming websites to build their professional pro

20、duction teams. Furthermore, SARFT’s new “Limitation on Advertising Policy” led the advertising agencies’ move to video streaming platforms since 2012. This advertising limitation stipulated </p><p>　　Current

21、 internal and external environments prompted streaming websites to explore a new revenue resource: producing original content. In turn, original content drove Chinese video streaming websites to enter a new phase of deve

22、lopment (Shu, 2013).</p><p>　　At the micro level, producing original content helped to decrease the number of purchased shows, thus a subsequent decline in copyright costs. At same time, more differentiated

23、content would be achieved, which would improve content competitiveness. Producing original content could also lead video streaming websites to diversify its revenue streams beyond traditional advertising. Product placeme

24、nt, program investment by advertising agencies, and distribution of original content copyright were all</p><p>　　From a macro perspective, producing original content has began to drive Chinese video streamin

25、g websites to enter the production aspect of the video industry, which plays a predominant role in the entire industry. Chinese video streaming websites are transferring their role from content distributor to content pro

26、ducer and platform operator (Wen, 2013).</p><p>　　Entering into production business helped video streaming websites open the upstream (production section) and downstream (broadcasting section) of the video s

27、treaming industry chain. In the future, video streaming websites would gradually win more control on the content, and gain more initiatives in the video industry (Wen, 2013).</p><p>　　The Characteristics of

28、Original Content</p><p>　　Production Model and Genre</p><p>　　In China, video streaming websites produce original content in two ways: self- production and participated-production (Hu, 2013). Se

29、lf-production means that video streaming websites independently produce original content, including program planning, shooting, post-editing, broadcasting, program promotion, and advertising sales. Participated-productio

30、n refers to video streaming websites that invest or participate in some parts of the production processes by cooperating with professional productio</p><p>　　Currently, there are three major genres of origin

31、al content on Chinese video streaming websites: the original reality show, the original series, and the original movie (Tian, 2013).</p><p>　　Multiple video-streaming websites began to produce original video

32、s, such as news conferences and interviews prior to 2010. However, this kind of video lacked continuity, and could not leave a deep impression in viewers’ minds. With gradual exploration in producing original content, mo

33、re professional content was provided by video streaming websites (Xiong, 2013).</p><p>　　For original series’ and movies, video streaming websites have created a stable production chain, in which they mainly

34、 function as an investor in the production process. Most movies and series are outsourced to professional production companies and marketing companies (Wen, 2013).</p><p>　　Video streaming websites produce m

35、ost reality shows themselves, among which the most popular genres are talk shows and entertainment news reports. For instance, the first original online talk show Morning Show was produced by the “Youku Original” channel

36、. In its 2012 inaugural season, the show generated more than 130 million hits and playbacks, and nearly 300,000 reviews by viewers. It also broke several records, such as total online talk show plays, increasing growth o

37、f online viewing, and publ</p><p>　　Operation of an Original Content Platform</p><p>　　By June 2015, Chinese video streaming websites including Youku, Tudou, Sina, Tencent, IQiYi, LeTV, etc. all

38、 had professional broadcasting studios. For example, Sohu TV and Tencent TV built multi-broadcasting studios, equipped with an EFP system (Electronic Field Production) in order to do live broadcasts and rebroadcasts.<

39、/p><p>　　In general, the basic program planning process of a video streaming production team operates in a fashion similar to that of a traditional television production department.</p><p>　　Video

40、websites do have some differences with traditional television networks in production systems, process, equipment and distribution methods.</p><p>　　Providing video on demand is the biggest difference and adv

41、antage for streaming video production. Based on large amounts of user data, streaming video studios take advantage of these data to analyze viewer demand, and respond to their requirements. Interaction is another unique

42、characteristic of production. On occasion, interactions with viewers or other shows can attract the attention of larger audiences. For example, Sohu TV’s Dapeng Talk Show is the first online interactive talk show. In 201

43、3</p><p>　　Based on the principles of high flexibility and adaptability, video streaming websites don’t require expensive production, live broadcast and transmission equipment. According to most reality prog

44、ram requirements, the area of video websites’ studios is usually between 50-300 square meters. Online video broadcasting equipment and</p><p>　　collaborative live streaming backstage are enough for daily pro

45、duction and upload. A 3 to 4 channel uploading, downloading and broadcasting video system can satisfy the requirements of convenience, efficiency, and flexibility in online video production (Tian, 2013). Thus, the costs

46、of building a studio and producing a program are much less than those of traditional television networks. For instance, the most popular talk show, Morning Call spent just 150 yuan ($24 US) on its one episode producti<

47、;/p><p>　　With regard to the distribution of original content, video streaming websites’ distribution is simpler and less expensive than that of traditional television stations. By uploading content on cloud se

48、rvers, video websites can distribute their content to different multi-terminal servers after transcoding. For instance, a cloud system will send streaming videos with different speeds of code streams according to differe

49、nt devices. Considering diverse resolutions of screens, the cloud server will se</p><p>　　The maturation of big data technology makes it possible for video streaming websites to provide more appropriate cont

50、ent for the niche audience. “Competing just on producing professional content is not the only way that we can figure out. Actually, we can take more advantages of the internet itself.” Youku’s CEO Ming Wei expressed that

51、 video streaming websites can collect and analyze users’ habits by their online activities like viewing, clicking, and interacting. Then, video streaming websites </p><p>　　In conclusion, on the aspect of pr

52、oduction systems, process and distribution, video streaming websites are most concerned with producing original content in a simple and flexible way with high efficiency. With the further development of production teams,

53、 Chinese video streaming websites have gradually built a complete production system with different programs of different themes and genres.</p><p>　　CHAPTER 4: RESULTS</p><p>　　Results of the Su

54、rvey</p><p>　　There were 117 people who participated in the survey, among which 58% were female and 42% were male. Female viewers were more numerous than male viewers, which is understandable as females are

55、heavier viewers of both traditional television and video streaming websites. 105 of the participants were in the age range of 19-35. This is also not surprising as the people in this age range are the main users of the i

56、nternet and smart devices. 7 participants were from the 36-50 age group. Two people wer</p><p>　　Questions 3 to 7 focused on the basic use habits of online users, including their use of video streaming websi

57、tes, their frequently visited video platforms, and the frequency, duration, and devices of use on video streaming websites.</p><p>　　Among the 117 participants, 113 people had previously used video streaming

58、 websites, in contrast to 4 people who have never used video streaming websites. 82% of participants usually used IQiYi PPS, and 73% often used Youku Tudou. In the common usage of other sites, 45% used Sohu TV, 39% used

59、Tencent TV, and 29% used LeTV.</p><p>　　With regard to frequency of use, 40% of participants used video streaming websites every day. 36% used the sites four to six times per week, 11% used them less than t

60、hree times per week, and 8% used them less than four times per month.</p><p>　　As to duration of use, 33% of participants chose viewing duration according to the attractiveness of the content. 26% usually wa

61、tched a half-hour to one hour per viewing session. 23% watched 1-3 hours per session. Only 7% of participants watched less than 30 minutes and only 4% watched between 3 and 5 hours. This means people typically do not spe

62、nd less than 30 minutes, or more than three hours on video streaming websites.</p><p>　　Regarding the use of devices, 71% of participants usually use smartphones to watch video streaming websites. 44% use la

63、ptops, 38% use tablets, and 8% use smart TVs. Portable devices are much more popular than others, indicating that people like to obtain content anytime, anywhere, and without device limits.</p><p>　　Question

64、s 8 to 10 were formulated to collect data about the preferences of users concerning content on video streaming websites. 65% of participants usually watched movies on streaming websites. 39% watched variety and competiti

65、on shows. 38% enjoyed watching dramas, and 32% preferred comedies. 25% of people watched traditional news programs, and 27% chose entertainment news and talk shows. From this data, it is clear that people prefer videos w

66、ith specific time limits, such as movies, which do n</p><p>　　In Question 10, participants were asked to rank the video streaming websites provided. The ranking was IQiYi, Youku-Tudou, Sohu TV, Tencent TV, a

67、nd LeTV, in that order. As the most popular platform among the five top, IQiYi possibly earned its first place position due to its numerous, high quality original content. Youku-Tudou, as the pioneer of the Chinese video

68、 streaming industry, possesses the largest base audience.</p><p>　　Questions 11 to 15 were aimed at collecting information on viewers’ experiences and preferences for original content on video streaming webs

69、ites. Among the 116 participants, a majority (75%) had watched original content. 20% had never watched original content, and 5% were unfamiliar with the term. These survey results have some limitations as a large amount

70、of the participants in this survey were in the 18-35 age range. Questions 12 and 13 provided the top eleven original shows online. Among tho</p><p>　　When asked about the reasons they liked original content,

71、 37% of the participants noted that the dialogue and interaction between the hosts and the participants was interesting. 36% expressed that the plots and structures of the shows attracted them. 25% wanted to learn more,

72、and 23% said the performance of the actors attracted their attention. 30% of the participants hoped to watch more political dramas. 39% preferred regular comedies. 31% chose the mini-movies. Also, 37% participants wished

73、 to</p><p>　　Questions 16 to 19 mainly concerned the attitudes of viewers towards video streaming websites’ main revenue source—advertising. Among the 117 participants, 76 people responded that they did not

74、like advertising. 41 people were neutral about it. 59% of participants felt that the duration of the ads was too long. 47% believed that the ads repeated too frequently. 25% of people hated ads for no particular reason.

75、23% of the participants felt that they never needed any of the products shown in the a</p><p>　　中國視頻流媒體網(wǎng)站自制內(nèi)容的競爭分析</p><p>　　作者：Aoran Yang</p><p><b>　　摘要：</b></p>

76、<p>　　在21世紀的前15年，中國視頻產(chǎn)業(yè)繼續(xù)快速發(fā)展和發(fā)展。隨著視頻流市場的變化，生成原始內(nèi)容成為主要視頻流網(wǎng)站中的熱門話題。這項研究提供了中國視頻流網(wǎng)站的競爭分析。該研究比較研究了中國不同視頻網(wǎng)站之間的自制內(nèi)容的差異。調(diào)查內(nèi)容涉及了用戶的使用習慣，對自制內(nèi)容和視頻網(wǎng)站上的廣告的態(tài)度。研究中采用SWOT分析對主流視頻網(wǎng)站的競爭力進行了整體分析。面對各種內(nèi)外部挑戰(zhàn)，主流視頻網(wǎng)站上的自制內(nèi)容必須克服一些重要難點，如缺乏創(chuàng)造力

77、、用戶體驗不穩(wěn)定和生命周期短。因此，提高用戶忠誠度是關鍵。主要建議是提高自制內(nèi)容和品牌的質(zhì)量，這對于中國視頻網(wǎng)站的未來發(fā)展的十分重要的。</p><p><b>　　第二章理論回顧</b></p><p><b>　　生產(chǎn)自制內(nèi)容的原因</b></p><p>　　從2010年到2015年，版權費的增加，嚴重同質(zhì)化的內(nèi)容，

78、和不斷增長的觀眾需求給視頻流媒體網(wǎng)站帶來了更多的壓力?！俺诵旅襟w的政策支持和更多的資金支持，視頻流媒體網(wǎng)站制作自制內(nèi)容是可行的”（熊，2013）。</p><p>　　在中國，視頻流媒體網(wǎng)站的主要成本包括帶寬，版權和薪水。在發(fā)展的初期階段，帶寬成本是最大的成本因素?！霸?009年之前，中國視頻流媒體網(wǎng)站不得不花費高達120億元人民幣（$19.3億美元）的帶寬成本，占到了總成本的60%到70%”（遼，2009）。

79、隨著帶寬的技術在之后幾年的發(fā)展，視頻流媒體網(wǎng)站在帶寬上減少了大量的運營費用。</p><p>　　“在傳統(tǒng)的電視和視頻流媒體等行業(yè)，高品質(zhì)的內(nèi)容無疑是吸引觀眾和廣告代理商的主要途徑”（文，2013）?！霸谥袊?，傳統(tǒng)的電視網(wǎng)絡和內(nèi)容制作公司擁有大部分內(nèi)容版權”（熊，2013）。由于日益激烈的內(nèi)容競爭，版權費用成為了2011年以來最大的成本。除版權市場的鞏固，中國視頻流媒體網(wǎng)站必須從兩個主要的內(nèi)容所有者——傳統(tǒng)的電視

80、網(wǎng)絡和專業(yè)生產(chǎn)企業(yè)，購買昂貴流行節(jié)目，以吸引更多的觀眾?！案甙旱倪M口費用使得視頻流媒體網(wǎng)站很難產(chǎn)生利潤”（文，2013）。</p><p>　　版權成本壓力也導致了同質(zhì)化的內(nèi)容。版權成本的壓力使得越來越多的網(wǎng)站去分配他們所購買的版權?！啊卑鏅嗯菽笔沟靡曨l流媒體網(wǎng)站授權廣播毫無意義”（舒，2013）。結果，內(nèi)容同質(zhì)化不可避免，在線觀眾可以在每一個網(wǎng)站上觀看某個特定的受歡迎的節(jié)目?！耙曨l流媒體網(wǎng)站需要找到新的方法去

81、爭取獨特的，有競爭力的內(nèi)容“”（舒，2013）。</p><p>　　“與此同時，觀眾不斷增長的需求推動了視頻流媒體行業(yè)的變化”（舒，2013）。隨著電子產(chǎn)品的升級，用戶需要在自己的電子設備中擁有更多的定制內(nèi)容。此外，觀眾習慣因受眾規(guī)模的快速擴張改變。“人們更愿意觀看更短內(nèi)容更多的視頻，而且觀眾要求與視頻內(nèi)容進行更多的互動。例如，他們更愿意通過觀賞體驗留下意見和反饋”（舒，2013）。如果流媒體網(wǎng)站充分分析用戶的

82、需求，自制內(nèi)容能夠滿足最大限度地滿足用戶需求。</p><p>　　中國流媒體網(wǎng)站目前的盈利模式主要依賴于傳統(tǒng)的廣告，這仍然是為了同一傳統(tǒng)電視網(wǎng)絡市場在競爭。這種廣告模式是從傳統(tǒng)電視廣告派送而來的的。它迫使觀眾花費具體時間內(nèi)觀看視頻廣告，并且不能被跳過?！笆聦嵣?，這種強制性的廣告策略對于視頻流媒體網(wǎng)站運作來說是很危險的”（舒，2013）。這違背了網(wǎng)絡媒體的本質(zhì)，將不可避免地造成觀眾的不滿?！巴瑫r，申購費和版權分銷

83、僅占收入的一小部分”（于，2011）。因此，生產(chǎn)自制內(nèi)容可以幫助視頻流媒體網(wǎng)站尋找新的收入來源。</p><p>　　政府媒體政策轉變頁影響了流媒體網(wǎng)站行業(yè)當前和未來的發(fā)展。2011年9</p><p>　　月，廣電總局下發(fā)“限娛令”，其中規(guī)定，從2012年開始，國內(nèi)電視網(wǎng)絡的娛樂內(nèi)容被限制到每年9個節(jié)目。此外，只有兩個娛樂節(jié)目能夠每周在每個頻道上播出，并每個頻道在每天下午7:30到晚上1

84、0點黃金時段播出的娛樂內(nèi)容的時間不能超過90分鐘。結果，2012年之后，三分之二的娛樂節(jié)目被取消。隨后，傳統(tǒng)電視網(wǎng)絡制作團隊開始進入視頻流媒體網(wǎng)站?！斑@種人才流動帶來了更多的專業(yè)制作人員及技術”（胡，2013）。愛奇藝的高級內(nèi)容總監(jiān)表示，愛奇藝已開展籌備花費了大量準備金的娛樂項目，人才流動確實使制作團隊更加優(yōu)秀?！澳壳埃瑦燮嫠嚨闹谱鲌F隊中有40%來自傳統(tǒng)的電視生產(chǎn)部門，40%來自傳統(tǒng)的網(wǎng)站公司，20%的人在這兩個行業(yè)種具有跨媒體經(jīng)驗”（

85、陳，2011）。毫無疑問，這類人才的進入為視頻流媒體網(wǎng)站建立自己專業(yè)生產(chǎn)隊伍創(chuàng)造了一個良好的機會。此外，自從2012年廣電總局頒布新的“限廣令”，導致廣告機構將業(yè)務轉移到視頻流媒體平臺?！跋迯V令”規(guī)定，每一集節(jié)目的總商業(yè)廣告內(nèi)容不能超過30秒。這導致廣告收入向視頻流媒體網(wǎng)站遷移。反過來在，這為產(chǎn)生自制內(nèi)容提供了更多資金。</p><p>　　“當前內(nèi)外部環(huán)境促使流媒體網(wǎng)站發(fā)掘新的收入來源：制作自制內(nèi)容。反過來，自

86、制內(nèi)容使得中國視頻流媒體網(wǎng)站的發(fā)展進入一個新的階段”（舒，2013）。在微觀層面上，生產(chǎn)自制內(nèi)容有助于減少購買節(jié)目的數(shù)量，版權費用隨之下降。同時，更多的差異化的內(nèi)容的實現(xiàn)，提升了競爭力。制作自制內(nèi)容也有使得視頻流媒體網(wǎng)站在傳統(tǒng)廣告之外獲得了多樣化的收入來源。植入式廣告，廣告公司投資項目，和自制內(nèi)容的版權分銷都是切實可行的收入來源（舒，2013）。</p><p>　　從宏觀角度看，生產(chǎn)自制內(nèi)容已經(jīng)開始推動中國視頻

87、流媒體網(wǎng)站進入到視頻行業(yè)中起主導作用的生產(chǎn)層面。“中國視頻流媒體網(wǎng)站開始進行從內(nèi)容分發(fā)到內(nèi)容生產(chǎn)商和平臺運營商的角色轉變”（文，2013）。</p><p>　　進入生產(chǎn)經(jīng)營幫著視頻流媒體網(wǎng)站打開了視頻流媒體產(chǎn)業(yè)鏈的上游（生產(chǎn)部分）和下游（廣播部分）?！拔磥?，視頻流媒體網(wǎng)站將在視頻行業(yè)逐漸擁有更多的內(nèi)容控制權和更強的主動性”（文，2013）。</p><p><b>　　自制內(nèi)容

88、的特點</b></p><p><b>　　1.生產(chǎn)模式和類型</b></p><p>　　在中國，視頻流媒體網(wǎng)站產(chǎn)生方式有兩種原始內(nèi)容：一個是自制，另一個是</p><p>　　參與制作（胡，2013）。自制意味著視頻流媒體網(wǎng)站自主生產(chǎn)自制內(nèi)容，包括節(jié)目策劃，拍攝，后期編輯，廣播，節(jié)目推廣，以及廣告銷售?！皡⑴c制作是指視頻流媒體網(wǎng)

89、站與專業(yè)制作公司合作，投資或參與生產(chǎn)過程中的某些部分。專業(yè)制作公司是參與制作的主要生產(chǎn)商”（舒，2013）。</p><p>　　“目前，中國視頻流媒體網(wǎng)站自制內(nèi)容有三大流派：自制真人秀節(jié)目，自制劇，和自制電影”（田，2013）。</p><p>　　眾多視頻流媒體網(wǎng)站開始生產(chǎn)自制視頻，如新聞發(fā)布會，2010年之前的采訪。然而，這種類型的視頻缺乏連續(xù)性，不能留在觀眾心中留下了深刻印象?！半S

90、著生產(chǎn)自制內(nèi)容的逐步探索，視頻流媒體網(wǎng)站提供了更專業(yè)的內(nèi)容”（熊，2013）?！皩τ谧灾苿『碗娪埃曨l流媒體網(wǎng)站作為生產(chǎn)過程中的投資者已經(jīng)創(chuàng)建了一個穩(wěn)定的生產(chǎn)鏈。大多數(shù)電影和劇集都外包給專業(yè)生產(chǎn)公司和銷售公司”（文，2013）。</p><p>　　視頻流媒體網(wǎng)站的真人秀節(jié)目大多是自制的，其中最流行的類型是談話節(jié)目和娛樂新聞報道。例如，第一個自制網(wǎng)絡談話節(jié)目——晨間秀是由“優(yōu)酷出品”制作的。2012年的第一季，節(jié)

91、目產(chǎn)生了130多萬的點擊率和播放量，觀眾評論近30萬條?！斑@也打破了幾個紀錄，如在線訪談節(jié)目總播放量，在線觀看的增長率，和公眾注意增長率”（劉，2013）?！霸谀軌蛟诰W(wǎng)絡上觀看的前十個談話節(jié)目中，有四個由視頻流媒體網(wǎng)站制作的”（田，2013）。由于技術進入壁壘較低，主題不受限制，視頻流媒體網(wǎng)站能夠自由地創(chuàng)作他們想要的節(jié)目。廣告銷售更具創(chuàng)意和多樣性。除了傳統(tǒng)的廣告，視頻流媒體網(wǎng)站可以以其他方式插入廣告，比如在節(jié)目中植入廣告和向廣告公司出售

92、冠名權。</p><p>　　2.自制內(nèi)容平臺的運營</p><p>　　截止到2015年6月，中國視頻流媒體網(wǎng)站，包括優(yōu)酷、土豆、新浪、騰訊、愛奇藝、樂視網(wǎng)等，都有專業(yè)的演播室。例如，搜狐視頻和騰訊視頻多種播放室，為了節(jié)目直播和重播，還配備了EFP（電子現(xiàn)場制作）系統(tǒng)。大體上，視頻流媒體制作團隊的基本方案規(guī)劃過程的操作，類似于傳統(tǒng)的電視節(jié)目制作部門。</p><p&g

93、t;　　視頻網(wǎng)站和傳統(tǒng)電視，在生產(chǎn)系統(tǒng)，工藝，設備和發(fā)行方式上確實存在一些差異。</p><p>　　按需提供視是頻流媒體視頻制作最大的不同和優(yōu)勢?；诖罅康挠脩魯?shù)據(jù)，流媒體視頻工作室利用這些數(shù)據(jù)來分析觀眾的需求，根據(jù)觀眾需求作出回應。</p><p>　　互動是自制節(jié)目的另一獨特特點。有時，與觀眾或其他節(jié)目的互動可以吸引更多觀眾的注意。例如，搜狐視頻的大鵬嘚吧嘚是第一個網(wǎng)絡互動脫口秀?！?/p>

94、2013年，柯南指出大鵬嘚吧嘚抄襲了它的片頭動畫。大鵬積極回應，并在節(jié)目中向柯南秀的制作團隊道歉，并迅速改變了片頭。兩個主持人，柯南與大鵬，在他們的節(jié)目相互交流。這種網(wǎng)絡自制脫口秀和傳統(tǒng)美國脫口秀節(jié)目之間的有趣的、前所未有的互動活動吸引了觀眾的注意”（搜狐，2012）。來源：tv.sohu.com</p><p>　　根據(jù)高靈活性和適應性原則，視頻網(wǎng)站不需要昂貴的生產(chǎn)、直播和傳輸設備費用。</p>

95、<p>　　根據(jù)大多數(shù)真人秀節(jié)目的需求，視頻網(wǎng)站工作室的面積通常是50-300之間平方米?！熬W(wǎng)絡視頻播放設備和柯南與大鵬協(xié)同直播后臺都足以滿足日常的生產(chǎn)和上傳。3到4個通道上傳，下載和視頻播放系統(tǒng)能夠滿足網(wǎng)絡視頻制作的便利性，效率和靈活性的的要求”（田，2013）。因此，建立一個工作室，并產(chǎn)生一個節(jié)目的成本比傳統(tǒng)的電視網(wǎng)絡的少得多?！袄?，最流行的脫口秀節(jié)目——曉說，在2011年一個集生產(chǎn)花費只有150元人民幣（24元美金）相

96、比，每集30萬元（48,387美金）的進口節(jié)目，自制內(nèi)容的成本遠低于比這一年的進口平均價格”（舒，2013）?！罢w上，視頻流媒體網(wǎng)站的演播室?guī)缀跖c傳統(tǒng)的電視網(wǎng)絡發(fā)展到同一水平”（田，2013）。關于自制內(nèi)容分配，視頻流媒體網(wǎng)站比傳統(tǒng)電視臺更簡單、更便宜。</p><p>　　通過云端服務器上傳內(nèi)容，視頻網(wǎng)站可以將轉碼后的內(nèi)容分配到不同的多種終端服務器。例如，云系統(tǒng)會以不同的碼流速度將視頻發(fā)送到不同的設備上?？紤]

97、到屏幕分辨率的不同，云服務器將以較低的碼流發(fā)送到手機端，以高碼流發(fā)送到電腦、智能電視這類設備?！耙虼?，每個用戶都可以在手機、平板電腦、筆記本電腦和個人計算機上等任意設備上流暢地觀看視頻”（田，2013）。因此，節(jié)目傳輸快速又便宜。</p><p>　　視頻流媒體和帶寬技術可以使直播節(jié)目的播放不受地域和速度限制。它還允許通過互聯(lián)網(wǎng)將無限的內(nèi)容發(fā)送到多個終端。</p><p>　　大數(shù)據(jù)技術的

98、成熟使得視頻流媒體網(wǎng)站能夠為利基觀眾提供更合適的內(nèi)容?！皢渭兊闹谱鲗I(yè)的內(nèi)容方面競爭不是唯一的出路。事實上，互聯(lián)網(wǎng)本身有更多的優(yōu)勢可被利用?！眱?yōu)酷網(wǎng)首席執(zhí)行官魏鳴如是說?！耙曨l流媒體網(wǎng)站可以根據(jù)用戶的在網(wǎng)上活動，如瀏覽、點擊和互動，來收集和分析用戶的習慣。然后，視頻流媒體網(wǎng)站可以提供具體的內(nèi)容，以滿足不同用戶的不同需求”（王，2014）。</p><p>　　總之，在生產(chǎn)系統(tǒng)、制作和分配方面，視頻流媒體網(wǎng)站最關注